In her excitement to share the progress of the CD project, she has posted a partial recording of Somebody Touched Me on YouTube.

She has been in the studio for three incredible 10-hour days at Studio Trilogy with Grammy-nominated recording engineer Justin Leibermnan, and says "we have some INCREDIBLE material which we will be mixing and mastering in the upcoming weeks!"

If you like Caribbean-infused Jazz, with lots of percussion, then you might want to check out The Pedrito Martinez Trio (Pedrito Martinez on percussion, Axel Tosca on piano, and Jhon Benites on bass.)

If you like Caribbean-infused Jazz, with lots of percussion, then you might want to check out The Pedrito Martinez Trio (Pedrito Martinez on percussion, Axel Tosca on piano, and Jhon Benites on bass.)

During their set on March 1, 2012 at The Jazz Standard (http://jazzstandard.net/ the New York City club beneath the Blue Smoke BBQ restaurant on east 27th Street), they played four arrangements; Encuentro, (written by Pedrito Martinez), Seis Semanas (by Juan Formell), Ya Grumo (by John Benites), and Descarga Vieques (by John Benites).

Their Caribbean heritages were strongly present throughout. After the show, I noted to Pedrito the obvious influences of the Cuban-based Buena Vista Social Club. His response — a smile on his face — was short and to the point: "Well, of course." He also informed me that the group on some occasions is all instrumental, while other times had a more represented vocals presence; tonight despite a few vocals, they were an instrumental performance.

The set was livened up by the accompaniment of Mike Rodriguez on trumpet and Steve Turre on trombone.

The group overall was a bit inconsistent. At times, they meandered a bit, while at other times are so cohesive and infections that their music made me dance in my seat. Overall, I enjoyed there show.

]]>morrice.blackwell@gmail.com (Brie Austin)Concert ReviewsWed, 21 Mar 2012 08:28:38 -0500Mike Arenella and the Dreamland Orchestra at Governors Islandhttp://www.jazzreview.com/concert-reviews/mike-arenella-and-the-dreamland-orchestra-at-governors-island.html
http://www.jazzreview.com/concert-reviews/mike-arenella-and-the-dreamland-orchestra-at-governors-island.htmlIt was a hot balmy day as we stepped off the ferry onto Governors Island; ten minutes off the southern tip of Manhattan. As Jacqueline and I approached the great lawn in the center of the island, I was transported to another place, another time – much like Owen Wilson was when he stepped into car as the leading character in the new Woody Allen film Midnight in Paris. Before my eyes the roaring 20's were alive and well, pages come to life from F. Scott Fitzgerald's book The Great Gatsby. People were in authentic garb, playing badminton; lounging with…

It was a hot balmy day as we stepped off the ferry onto Governors Island; ten minutes off the southern tip of Manhattan. As Jacqueline and I approached the great lawn in the center of the island, I was transported to another place, another time – much like Owen Wilson was when he stepped into car as the leading character in the new Woody Allen film Midnight in Paris. Before my eyes the roaring 20’s were alive and well, pages come to life from F. Scott Fitzgerald’s book The Great Gatsby. People were in authentic garb, playing badminton; lounging with friends picnicking; and dancing to the music of the era – JAZZ!

Mike Arenella and his Dreamland Orchestra host an event here each year with enthusiastic turnouts. The band sat atop a stage constructed at one end of the great lawn, igniting the energy of the day and compelling the dance floor to fill up with couples showing off the hottest steps of the time.

The Dreamland Orchestra is authentic; their instruments, equipment, and attire. Led by Mike Arenella’s wand and at times his strong baritone, their delivery is accomplished and professional without the music losing the fun and spontaneity of an era gone by.

According to Arenella, he transcribes – by hand – their entire repertoire from period recordings.

I asked a girl (see photo right) in a black dress “What brought you out to a themed event like this?” She didn’t hesitate when she pointed to her friend

(in gray with the fan) and said, “She did!”

“Are you having a good time? Do you think you might come again“? With a wide grin she responded, “Absolutely, this is great!”

I received similar responses from several people I questioned, including one couple from England. The outfits varied from half-hearted or hurried to exceptional.

If you like Jazz, and you’re in New York during the summer, check out this event.

For more photos of past events, or upcoming events for Mike Arenella and the Dreamland Orchestra, visit their site here: http://dreamlandorchestra.com/

]]>morrice.blackwell@gmail.com (Brie Austin)Concert ReviewsSun, 02 Oct 2011 14:23:50 -0500Spin This by Karen Blixthttp://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/spin-this-by-karen-blixt.html
http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/spin-this-by-karen-blixt.htmlFrom the percussion and bass reed version of the Monk/Ferro song "It’s Over Now (Well, You Needn’t)" and her groove enriched version of the Rogers and Hammerstein clas…

From the percussion and bass reed version of the Monk/Ferro song "It’s Over Now (Well, You Needn’t)" and her groove enriched version of the Rogers and Hammerstein classic "My Favorite Things," to the her sultry delivery of the Arnold/Walter classic "You Don’t Know Me," San Francisco jazz scene favorite Karen Blixt delivers a delightfully entertaining and powerful piece of work with her debut CD Spin This.

Together with producer Frank Martin and a who’s who cast of musicians, Spin This brings new life to ten contemporary and classic standards and she emerges as a talented songwriter in the three Martin-Blixt originals: "Spin This," "Kitchen Blues" (where she at times reminds me of Laura Fygi) and the closing track "Something So True." Karen effortlessly changes moods and direction, nowhere better demonstrated than on the Cole Porter classic "Night and Day" - consistently maintaining a distinct sound signature all her own.

Growing up in upstate New York singing church hymns, Karen says, "I grew up in a world of black and white," and "always singing off the melody." She gravitated to the way jazz "thrives in the unsettled way where asking the question is more important than being certain of the answer." It is in this gray area of taking risk, not knowing if she is right or wrong that both she and her music live. "With jazz, it’s not about you deciding how to perform the song, it’s about the song finding its own life through you," she says.

Karen settled in northern California and has been a staple in the Bay Area jazz scene for ten years. She has performed with Bobby McFerrin on his score for the Academy Award-winning film "Common Threads" and she is now a star whose time has arrived. Spin This is her calling card.

]]>morrice.blackwell@gmail.com (Brie Austin)Jazz Vocals - CD ReviewsTue, 21 Feb 2006 18:00:00 -0600A Tribute To Swing by Harri Stojkahttp://www.jazzreview.com/cd-reviews/other-cd-reviews/a-tribute-to-swing-by-harri-stojka.html
http://www.jazzreview.com/cd-reviews/other-cd-reviews/a-tribute-to-swing-by-harri-stojka.htmlIf you’re a fan of guitar and classic swing music, then the new CD by Harri Stojka is just what your looking for. Though a few of the songs seem a little redundant, "A Trib…

If you’re a fan of guitar and classic swing music, then the new CD by Harri Stojka is just what your looking for. Though a few of the songs seem a little redundant, "A Tribute To Swing" highlights Harri’s effortless mastery of the instrument and exuberant love for it in a winning combination. This is not a piece of work recorded, but rather a moment of artistic inspiration captured. His play is fast and furious, yet light and nimble: a cascade of complicated melodies over the backdrop of simple rhythmic structures. At times, through the fusion of gypsy violins, Harri creates rich hues of sound with elegant harmonies and unison play.

In 1981, "Harri Stojka Express" was the only Austrian band to join Jimmy Cliff, Eric Burdon, Van Morrison and Carlos Santana at the Open Air Festival in Vienna’s Prater Stadium. Harri also played with Larry Coryell, Birelli Lagrene and Harri Pepi at the Guitar Summit in Montreaz, the Mecca of jazz musicians, where he earned praise from world-class musicians.

It is obvious when listening to his current record that Harri Stojka is an artist that plays for his listeners rather his own self-indulgence. He is a talent to be sure, and worthy of your utmost attention.

Influenced by the sound of Benny Goodman and the Stray Cats, the Neo-Swing Jazz style of The Rock and Rule Swing Band is a fusion of big band swing, rockabilly, and even SKA. They appeared like fish out of water at this years annual San Pedro Country Music Festival in San Pedro Argentina and stole the show. The high energy eight piece band electrified the crowd; many of whom appeared to have never heard this style of music before. Smoke was continually sweeping across the stage in an ebb and tid

Influenced by the sound of Benny Goodman and the Stray Cats, the Neo-Swing Jazz style of The Rock and Rule Swing Band is a fusion of big band swing, rockabilly, and even SKA. They appeared like fish out of water at this years annual San Pedro Country Music Festival in San Pedro Argentina and stole the show. The high energy eight piece band electrified the crowd; many of whom appeared to have never heard this style of music before. Smoke was continually sweeping across the stage in an ebb and tide rhythm that was illuminated by hues of multicolored lights. Dancers, dressed in outfits inspired by the ‘40s, flanked the front of the stage and the overall effect of this show was a memorable experience. Herman Biancardi -- band leader, keyboardist and vocalist -- told me that from the first time he saw the Brian Setzer Orchestra and the Big Bad Voodo Daddy on television, nothing would ever be the same for him. He was thereafter driven by an internal love for the sound and a passion to learn the styles and he did. The show included such songs as The Contender, Zip Gun Bop, Watts Local, Hey Pachuco, Gee Baby, Cuban Pete, and You are the Boss (Royal Crown Revue), Americano, Let’s Live it Up, The House is Rockin and The Dirty Boogie (Brian Setzer Orchestra), Jumping Jack, Minnie the Moocher and Mr Pinstripe Suit (Big Voodoo Daddy). One of the most entertaining shows I have seen in many years. If you’re in Argentina, look for these guys and treat yourself.

]]>morrice.blackwell@gmail.com (Brie Austin)Concert ReviewsSat, 29 Jan 2011 09:40:26 -0600Undefined Ivoryhttp://www.jazzreview.com/concert-reviews/undefined-ivory.html
http://www.jazzreview.com/concert-reviews/undefined-ivory.htmlIn her debut solo performance held at the Notorious Café (notoriousbar.com.ar), Paula Shocron sat at the piano with confidence in the air and a bottle of water at her feet which she sipped from frequently. Her playing, like life was unpredictable. The style was at first without structure, like raw feelings being displayed through her instrument. Whether it was representing the mind of a rebellious youth, or the gritty, furious moods of a city on the edge, it seemed to be spontaneous ene

In her debut solo performance held at the Notorious Café (notoriousbar.com.ar), Paula Shocran sat at the piano with confidence in the air and a bottle of water at her feet which she sipped from frequently. Her playing, like life was unpredictable. The style was at first without structure, like raw feelings being displayed through her instrument. Whether it was representing the mind of a rebellious youth, or the gritty, furious moods of a city on the edge, it seemed to be spontaneous energy that flowed in ebbs and tides.

And just as spontaneously Paula at times slid effortlessly into cascades of George Benson esque moods; a winters day, a summer rain or a light and easy ramble through the lower eastside of New York City. The crowd was quite enthusiastic and appreciative to what they were hearing and gave the young twenty five year old a rousing applause for her efforts. She played two sets and each had a mood and style all it’s own. It was almost like hearing two different musicians; the first Avant-garde, the second more melodically structured.

Born in Rosario, Argentina, Paula grew up to the sounds of traditional folk music. But she told me after the concert that she was forever changed after hearing a Duke Ellington record, and jazz has consumed her since. For all her style changes, from which she seems to still be evolving, her technique and abilities are obviously abundant. She displays passion and character in her interpretations making her an artist worthy of any pianist enthusiasts attention.

Her latest record La voz que te lleva, is now available on the Blue Art label.